the great enormo - brighton festival...move on. its splendour is that of an arrival: here is...

The GreatEnormoby Michael Rosen, James Morgan and Juliette Pochin

World premiereCommissioned by Brighton Festival

Michael Rosen narratorJuliette Pochin soprano

City of London SinfoniaJames Morgan conductor

Sat 4 May 2013, 5.00pmBrighton Dome, Concert Hall

To celebrate the work of two of Brighton’s leading charities,there will be a collection at the end of the performance forBrighton Dome & Brighton Festival and RockinghorseChildren’s Charity

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BF01_2013EnormoAW6:BF1 / LSO artwork 01/05/2013 11:02

Haydn's 'Surprise' Symphony: drawing by Gerard Hoffnung from The Hoffnung Music Festival


Morgan Pochin The Great EnormoA kerfuffle in B flat for orchestra, wasps and soprano

INTERVAL

Arnold A Grand, Grand Overture

Stravinsky The Firebird, suite

Michael Rosen narratorJuliette Pochin soprano

City of London SinfoniaJames Morgan conductor

The Great Enormo

The Steinway concert piano chosen and hired byBrighton Festival for this performance is supplied andmaintained by Steinway & Sons, London


Image: Louise Richardson


A kerfuffle in B flat for orchestra, wasps and soprano

Words by Michael RosenMusic by James Morgan and Juliette Pochin

Michael Rosen narrator (favourite instrument: contrabassoon) Juliette Pochin soprano (favourite instrument: violin) James Morgan conductor (favourite instrument: trumpet) City of London Sinfonia(the orchestra: they like all instruments)

The Brighton Festival guest director, Michael Rosen, wants to compose atheme tune for Mr Enormo Biggins’s Great Fun Park. The Great Enormo isan amazing new theme park that allows its visitors to travel through time onfantastically fun rides. Michael needs your help to coax, cajole and bullythe orchestra into producing a great piece so you can win free tickets to thetheme park. As he jumps from the medieval to the jazz age, from the WildWest to intergalactic space, will the viola player get his solo? And who isthe soprano who keeps turning up unexpectedly?

The Great Enormo Song

At the Great Enormo your dreams become real

At the Great Enormo what’s real is a dream

We’ll take you to climb a castle in the air

We’ll take you where you’ll hear yourself scream…

The Great Enormo


The Great Enormo wordsearch

C P N U P P A K S Z J W Y R T

Q O N A G I L H Q D M L I O E

K L N X T K C D J A P N D L N

Y N S T M T H C W R T P V L I

P O U Y R M A R O E K R A E R

C K A E K A M H R L A M O R A

B O H C R A B G N F O V T C L

S K Z X D T A A E A I K S O C

V O P H U L V N S O M Q C A Y

S O P R A N O W L S D S X S P

X M R C F B L A W X O Q E T I

Z X T W M B S Q K T D O I E R

R I R O T C U D N O C Y N R A

C U R X L J H E N W Z S L S T

Y T T V C H K T A V C E L N E

Can you find 11 words with links to The Great Enormo?

The answers are at the end of the biographies


A Grand, Grand Overture

Malcolm Arnold was a composer who, in his better moments, enjoyed lifeto the full; and he found a kindred spirit in the short-lived cartoonist,humorist and tuba player Gerard Hoffnung (1925–59). It was for the firstHoffnung Music Festival at the Royal Festival Hall in London, in November1956, that Arnold wrote A Grand, Grand Overture. Conducted by thecomposer, it was the opening item in a programme that also included aChopin mazurka played by a quartet of tubas, a concerto performed bythe great horn player Dennis Brain on a garden hosepipe, FranzReizenstein’s Concerto popolare for pianist versus orchestra, the slowmovement of Haydn’s ‘Surprise’ Symphony with extra surprises, and muchelse besides.

A Grand, Grand Overture (op. 57) is scored for a standard symphonyorchestra augmented by organ (the part was first played by Dennis Brain),four rifles and a quartet of three vacuum cleaners and a floor polisher —originally pitched, as Arnold’s checks with a tuning-fork in the Hoovershowrooms had established, in B flat and G. The cleaning quartet and therifles make their first appearance in the expectant introduction; the cleanersreturn to accompany two (necessarily quiet) statements of the work’smemorable ‘big tune’, and again towards the end, until the intervention ofthe rifles.

The title of the piece is a variation on the customary name of ‘GrandOverture’ given to symphonies in the 18th century. It is justified mostobviously by the coda, a sustained assertion of ‘the C major of this life’,and indeed of the next — and possibly even of the one after that.

© Anthony Burton

Malcolm Arnold (1921–2006)

Malcolm Arnold


The Firebird, suite(1919 version)

IntroductionThe Firebird’s DanceThe Princesses’ KhorovodInfernal Dance of King KashcheyBerceuseFinale

As Debussy said to the young Stravinsky, after hearing The Firebird, ‘Well,you have to start somewhere’. Thus Stravinsky burst into Paris and history. Forall its dry wit, the comment was apropos. Stravinsky, who was 28 when TheFirebird had its first performance, had already written a good deal of music,including an amiable symphony (his official op. 1) and a couple of morestriking orchestral pieces, but in many respects this was indeed where hebegan. It was the first of his works to be performed outside Russia, and thefirst that was generally available until he started to revive his very earlycompositions relatively late in his long life.

Also — like the imperial Russia in which The Firebird was written and whoserichly varied musical culture it commemorated — it was a place from which tomove on. Its splendour is that of an arrival: here is Stravinsky, in all hisbrilliance, his cut and thrust. But that splendour also takes the form of afarewell, to the late Romantic Russia in which Stravinsky had been raised as apupil of Rimsky-Korsakov (whose later music, still very recent, was a potentinfluence). The firebird — or phoenix, born from flames, a symbol ofregeneration — was altogether a fitting subject. Rimsky is there in the fire andthe feathers, the highly chromatic harmony and the sumptuous orchestration.But the figure wearing his musical clothes, and moving with a quickened,edgier pulse, is Stravinsky.

The Firebird, though, might never have happened. The impresario SergeDiaghilev had his own reasons for wanting to present himself under thebanner of rebirth: this was his second Ballets Russes season in Paris, and hewas determined to have a new work. (His 1909 season had been of balletsalready in the repertory of the Mariinsky Theatre in St Petersburg or adaptedfrom it.) Michel Fokine, his company choreographer, was the obvious personto create the dance. But who should write the music? Diaghilev was certainly

Igor Stravinsky (1882–1971)

Igor Stravinsky


aware of Stravinsky, who had contributed two arrangements for the conversionof the Mariinsky’s Chopiniana into Les sylphides for Paris in the first BalletsRusses season. But he seems to have gone first to Alexander Tcherepnin, then toAnatoly Lyadov, and only towards the end of 1909, with the opening night littlemore than six months away, to Stravinsky.

Stravinsky seized his opportunity, producing a 45-minute score of sensationalmagnificence. Fokine — with the help of Léon Bakst, who designed theFirebird’s vibrant costume — offered the Paris public a dazzling spectacle,featuring Fokine himself as the Tsarevich, his wife Vera Fokina as the Tsarevnaand Tamara Karsavina as the Firebird. But Debussy was by no means the onlyobserver to notice the music. Soon it leapt from the theatre pit. Before the yearwas out Stravinsky had created a concert suite, and it was in this form that hisfriends back in Russia were able to hear what all the fuss was about. Still,particularly after World War I, the music’s further progress was inhibited by thelavishness of its scoring, and so in February 1919 Stravinsky revised the suite,halving the number of woodwind players needed, streamlining the percussionand reducing the harps from three to one.

In this version, which we hear this evening, the ballet’s short orchestral prelude(featuring string harmonics in glissandos, an effect stolen from Ravel) is followed bythe dance with which the Firebird introduces herself, music of rippling chromaticscales and lustrous arabesques appropriate to a fantastic and flighty creature.

The next movement is a khorovod, or round dance, which the Tsarevich sees 13princesses dancing when he comes upon them in the enchanted garden of theogre Kashchey: the human characters all prove their Russian blood in musicbased on traditional dances and folksongs, very much in the tradition of Rimsky-Korsakov and Tchaikovsky. Then the final three movements present most of theballet’s close. In the Infernal Dance for Kashchey’s magicked andmetamorphosed subjects, stamping rhythms suggest the approach of The Rite ofSpring, which the composer was soon to begin. The Berceuse is a lullaby withwhich the Firebird charms the powers of evil to sleep, again in a distinctlyRussian tone. Lastly comes a scene of general rejoicing after the prince hassmashed the magic egg that had given Kashchey life: bell sounds, and thedeceleration of time into a swinging pattern, create the first of the composer’sconcluding apotheoses — a musical type that would echo through his outputand still be there 55 years later at the end of his Requiem Canticles. He had,indeed, made a start.

© Paul Griffiths


Léon Bakst's costume design for the Firebird


Biographies

Juliette PochinJuliette Pochin studied at Trinity College, Cambridge, and the Guildhall School of Music andDrama. After an initial career in opera, she recorded her solo album Venezia for Sony/BMGwhich was named Classic FM’s Record of the Week. She has performed with the Hallé, City ofBirmingham Symphony and BBC Philharmonic Orchestras, and has appeared with a wide rangeof artists, from Simon Rattle to Meatloaf (on ITV’s Pop Star to Opera Star). A keen exponent ofcontemporary music, she performed in the world premieres of Sofia Gubaidulina’s Canticle of theSun with Mstislav Rostropovich at the Barbican, and Ed Hughes’s The Birds with The OperaGroup at the City of London Festival. As a recitalist she has worked with Graham Johnson andIain Burnside, with whom she recorded the CD The Sky Shall Be Our Roof featuring arias byVaughan Williams, named Gramophone magazine’s Editor’s Choice. She can also be heard onnumerous classical compilation CDs, and on the soundtracks of the Lord of the Rings, Harry Potterand Star Wars films. She regularly sings the National Anthem at Wembley, Twickenham and theMillennium Stadiums, and for the last three years she has appeared as the soloist in the BBCsProms in the Park with the BBC Philharmonic Orchestra.

James MorganJames Morgan studied at Trinity College, Cambridge, and was Assistant Chorus Master at EnglishNational Opera (ENO) from 1994 to 1998. He subsequently conducted operas atGlyndebourne and for ENO, English Touring Opera and Raymond Gubbay Ltd. He hasconducted and recorded with many of the UK’s leading orchestras, including the RoyalPhilharmonic, Philharmonia and London Philharmonic Orchestras. Abroad, he works regularly withthe Danish National Chamber Orchestra and City of Prague Philharmonic, and has also madeguest appearances with the Copenhagen Philharmonic, Odense Symphony, Flanders Symphonyand West Kazakhstan Philharmonic Orchestras. Specializing in contemporary music, he hasconducted several world premieres at the Southbank Centre and the Barbican and his repertoryvaries from Renaissance polyphony to arena pop concerts, with artists as varied as Alfie Boe,Jamie Cullum, Andrea Bocelli, Katie Melua and the BBC Singers, of which he is a regular guestconductor. He recently conducted the 2012 Classical Brits at the Royal Albert Hall, with theLondon Chamber Orchestra.

Michael RosenBorn in Harrow, Middlesex, in 1946, Michael Rosen is noted for his work as a poet, performer,broadcaster and scriptwriter. He studied at Wadham College, Oxford, and started his writingcareer with the play Backbone, presented at the Royal Court Theatre in 1969. He subsequentlyjoined the BBC, where he worked on Play School, Schools TV and radio dramas, and hepublished his first book, Mind Your Own Business, a collection of his own verse, in 1974. Hissubsequent books include You Can’t Catch Me, We’re Going on a Bear Hunt (winner of theNestlé Smarties Grand Prize in 1989), Michael Rosen’s Sad Book, Carrying the Elephant: AMemoir of Love and Loss and This Is Not My Nose: A Memoir of Illness and Recovery. Havingstudied for an MA and PhD, he currently lectures and teaches in universities on children’sliterature, reading and writing, and presents Word of Mouth on BBC Radio 4. He visits schoolsthroughout the UK with his one-man show — one of the first poets to do so — and has alsovisited schools throughout the world. As the Children’s Laureate (2007–09), he established theRoald Dahl Funny Prize, awarded to the funniest children’s books of the year. He was made aChevalier de l’Ordre des Arts et des Lettres in 2008.


Morgan PochinJames Morgan and Juliette Pochin met as undergraduates at Cambridge University and havesubsequently worked in a huge variety of fields, from television series to UK album chart successesand, more recently, feature films. They began working in television, with credits including theEmmy Award-winning The Kumars at No. 42 and work with Armstrong and Miller, Harry Enfieldand Ian Hislop. Last year their first feature film, First Night, starring Richard E. Grant and SarahBrightman, was released alongside its soundtrack album on Sony Classical, featuring Juliettesinging and James conducting. They were the music producers on the film Quartet, directed byDustin Hoffmann and released earlier this year. Morgan Pochin’s production and composingcredits include five best-selling albums for Decca by Alfie Boe, Katherine Jenkins and JoeMcElderry. Their other credits include recordings by Julian Lloyd Webber, Elton John and RobertPlant, and Juliette Pochin’s album Venezia for Sony Classical. As orchestrators and arrangers, theircredits include scores for BBC, ITV and Channel 4; Tangier Tattoo at Glyndebourne; numerousarrangements for Classic FM; and tracks for artists as diverse as Peter Gabriel, Michael Boltonand Katie Melua. In addition to various recording projects, they are currently working on thesoundtrack for a new film about the golfer Seve Ballesteros.

City of London SinfoniaCity of London Sinfonia was founded by the late Richard Hickox in 1971. Today it performsthroughout London and the UK in venues ranging from traditional concert halls to schools andhospitals, alternative venue spaces and diverse community settings.

Led by its Artistic Director, Stephen Layton, and Principal Conductor, Michael Collins, theorchestra works regularly with world-class artists as well as up-and-coming talent, including, in the last year, Gwilym Simcock, Tim Garland, Polyphony, Hugh Brunt, Roderick Williams andElizabeth Watts. It performs at all the major London concert halls and venues, as well as in St Paul’s Cathedral and other venues in the City and on its fringes, and is the resident orchestra at Opera Holland Park. A frequent guest at the UK’s major festivals, the orchestra this yearperforms at the BBC Proms and the Spitalfields Music and Cheltenham Festivals.

City of London Sinfonia’s education and outreach programme, Meet the Music, was one ofthe first established by a UK orchestra. Last year its musicians spent over 100 days making musicwith a wide range of groups throughout the country, reaching over 10,000 people.

City of London Sinfonia, photo: Benjamin Harte

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First violinsAlexandra WoodRuth FunnellClare HoffmanSusan BriscoeCharlotte ReidJulian TraffordAnna de BruinSarah SewLucy WaterhouseAntonia Azoitei

Second violinsTakane FanatsuJessica O’LearyJulia WatkinsTed BarryHelena RuinardRosemary HenbestSebastian RudnickiLouisa Stonehill

ViolasRebecca JonesTriona MilneFay SweetMargrit HaslarAmy StanfordEnrico Alvares

CellosSophie HarrisAnna MowatAlexandra MackenzieMorwenna Del MarJonathan FewPenny Bradshaw

Double bassesPaul ShermanChris WestJacqueline Dossor

FlutesAlison HayhurstJill Carter

PiccoloDebbie Davis

OboeDaniel Bates

Oboe and cor-anglaisHelen McQueen

ClarinetDavid Rix

Clarinet and bass clarinetDerek Hannigan

BassoonJohn McDougall

Bassoon and contrabassoonLiz Trigg

HornsStephen StirlingBeth RandellClaire LintottPeter Merry

TrumpetsNicholas BettsAlex CromwellDavid Blackadder

TrombonesDan JenkinsAmos MillerIan Fasham

TubaStephen Wick

TimpaniTristan Fry

PercussionGlyn MatthewsGeoff BoyntonTimothy Gunnell

Piano and organAlistair Young

HarpHelen Tunstall

The list of players was correct at the time of going to print

For the performance of The Great Enormo the City of London Sinfonia isjoined by students of Brighton& Hove Music & Arts

ViolinsCallum Bellairs-TaylorJulia Palmer

FluteTomas Bermejo

OboeOrla Byrne

BassoonOlivia Garry

TrumpetSam Rosenbach

Answers to Wordsearch

CLARINETTROMBONE

CONTRABASSOONROLLERCOASTERINTERGALACTICCONDUCTOR

SOPRANOPIRATE

MANHATTANPICCOLO

VIOLA

City of London Sinfonia


Brighton Dome & Brighton Festival

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Brighton Dome & Brighton Festival Staff


ProgrammesEditor Alison Latham | Biographies editor Oliver Tims | Design Heather Kenmure 020 7931 7639 | All articles are copyright of the author

Director of Operations Maxine Hort

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the great enormo - brighton festival...move on. its splendour is that of an arrival: here is...

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